Mexico CIty Blues – 6

                        

[Henry Luce]

[“…And nobody cares how you hang/ Your spaghetti wash…”]

[Louis Armstrong]

[T.S.Eliot]

[“..I want to go and live in the desert..”]

[“…One Thousand/Two hundred and fifty/Men/Sitting around a grove/of trees/Outsida town/right now/  With Buddha/is their leader/Discoursing in the middle,/Sitting lotus posture…”]

Allen’s notations on Jack Kerouac’s Mexico City Blues continues

[51stChorus]
 
“America is a permissible dream” – This is in (19)53, and Henry Luce was writing about the “American Century”, and Henry Luce was having lunch with John Foster Dullesevery week in Washington, and spreading the basic CIA moral American line through Time magazine and the Luce … Read More

Mexico City Blues – 3

AG: The most amazing weird formulations are in (Jack Kerouac’s Mexico City Blues) in the 32nd Chorus:“Newton‘s theory of relativity/and grave gravity/is that rocks’ll fall on your head/  Pluto is the Latest Star/  Astrononical facts/ from under the bar./  Little cottages of hills receive/the Constellation of/the Sourthern Hemisphere./ Where rosy doves’re seen flying/ Past Pis Cacuaqaheuro/Monte Visto de Santo/De Gassa – healing helium/gas – from the substance/on the sunstar – / gas discovered on the sun/ by spectral gazing/  Sorcerers hoppity skip/with the same familiarity /In my Buddhaland dreams -/  Monotonous monotony/ of endless grape dirigible stars.” 

(Then) – … Read More

“Mind is shapely, Art is shapely”

 

[The Sleeping Gypsy (La Bohémienne endormie) (1897) –  by Henri “Douanier” Rousseau – oil on canvas 51″ x 79″ in the collection of the Museum of Modern Art, New York]

AG: Yes? Student: I was wondering if you were (suggesting poetry and meditation) in the same (breath as)  functions of the mind? I was wondering if you are saying that – that poetry is a function of the mind? AG: Sure.. Student: You expanded on (Jack) Kerouac‘s… AG: …if you write it down. Student: Can you expand on Kerouac’s “If the mind is shapely, the poetry … Read More

Mexico City Blues 2 – (The Discriminating Mind)

 
 
Student: Allen
AG: Yes?
Student: That’s [Mexico City Blues] also (an) essay form
AG: Probably sonataform
Student: Essay and sonata form
AG: Well, it’s [(Chorus 24) is]  just basically just logic. A statement…
Student:  (With essay thoughts you verify them..)
AG: Yes
Student: (..You argue your points, and…)
 
AG: Yeah, so (here) it’s just sort of common sense. It isn’t that much of a mystical mysterium. It gets reduced. So, simply to say that, (here) items of thought-forms themselves, or dots of thought-forms, or the monads of thought-forms, are built in(to) this triple-ripple (like the “kerplunk” that … Read More

Meditation and Poetics – 102 – (Mexico City Blues)

 
AG: Years ago, I read a lot of (Jack) Kerouac’s Mexico City Blues to (Chogyam) Trungpa , and his comment was, “perfect manifestation of mind”, or “ (perfect) exposition of mind”, and, since I had put that on the reading-list [here at Naropa] … this is (I think) a good time to get into it . The reason is, that, for American poetics, Kerouac is about the closest you have to subtle recording of consciousness, subtle recording of ordinary mind consciousness – the kind of quirks, day-dreams, interruptions, abruptnesses, gaps, associations, and after-thoughts that come into American … Read More

Meditation and Poetics – 101 – Haiku and Trikaya – 2

It struck me that the one perfect haiku  that I wrote in Court the other day (sic), in Golden Courthouse, [Golden, Colorado] did actually examine, ((in) hindsight, written before (Chogyam) Trungpa (Rinpoche)’s discourse), did actually fit into that (three-part [trikaya] conception). The first line was – “In Golden Court, waiting for the judge, breathing silent”. So there’s an open space where there are bodies and breath. Then an identification of the personages there, recognition – “Prisoners, witnesses, police”. And then the comment (not in the form of a moral, but in the form of another issue, another image, … Read More

Meditation and Poetics – 100 – Haiku and Trikaya

 

AG:  (I asked you to look at) forms and haiku structure. Does anybody remember that? – or did anybody notate (or make) notes on that?
Student:  (I did and noticed…)
AG: Louder!
Student: (I did and noticed that there was writing specifically about something, and then..)
AG: Then you noticed what?
Student: The writing is direct, and then you notice, you know, that you register, say, the sunshine, and then you reverse backwards (to the source of the sunshine..) and…
AG: Yeah (but) how did that relate to the process of (the) thought-form itself?
Student: I think of an idea … Read More

Meditation and Poetics – 98 – Haiku – 11 (Haiku and The Gap of Space)

AG: (Haiku) …and the gap of spaceBillowing clouds –An antclimbs on to the ink stone(The ink stone where he’s mixing his ink to make the painting of the billowing clouds) – “Billowing clouds -/An ant/climbs onto the ink stone”.A cow is lowingin the cowshedunder the hazy moon(That’s very similar to that (one earlier)… (tape ends and then restarts here)  …the lowing of the cow and the hazy moon).Then, again, like the one of the firefly’s neck really is red in the daylight (“The firefly’s neck/in the daylight/is red” (Basho) [Hiru mireba kubisuji akaki  hotaru kana]). So other examples of minutely-perceived … Read More

Meditation and Poetics – 96 – Haiku – 9 (Haiku continued)

AG: One (haiku) that suggests space:

      Oh, snail
      climb Mt. Fuji,
      but slowly, slowly.
That’s Issa, who is the most like William Carlos Williams in temperament – that is to say, he includes himself as a solitary, lonesome, weepy object, a sort of objective picture of self.  He was the one that had for a brushwood gate, for a lock, the snail. He also was the one, 
      The young girl 
      blew her nose
      in the evening glory
      Beaten      at battledore and shuttlecock
      the beautiful maiden’s anger.
That’s like a tiny novel, too.  
      An autumn night,      … Read More

Sunday May 24th – Bob Dylan’s Birthday

 

Emperor (Allen Ginsberg): I’ve heard through the grapevine that you have certain powers Alchemist (Bob Dylan): Oh no, that’s not me but I know who you mean  Emperor (Allen Ginsberg): You’re not the alchemist? Alchemist (Bob Dylan): No, but I’ve seen him come through here, carrying his bags full of bottles. We talk now and then. Emperor (Allen Ginsberg): What’s he tell you? Alchemist (Bob Dylan): Nothing special. I’ve seen him perform certain mysterious gestures though. I never say nothing’ about it. I just watch. Emperor (Allen Ginsberg):  What does he do? Alchemist (Bob Dylan): Sometimes very … Read More